Director Adam McKay has made a name for himself directing comedies that have been, for the most part, quite successful, namely "Anchorman"(both the original and the sequel), "Talladega Nights: The Legend of Ricky Bobby", "Step Brothers" and "The Other Guys" (all films featuring his producing partner, the hilarious Will Ferrell). "The Big Short" is a definite change of pace for the director, since it's a drama (with tints of dark comedy), tackling the whole debacle that was at the genesis of the economic meltdown that started in 2007. The film is an adaptation of the book by Michael Lewis (two of his books have been successfully adapted to the screen, namely, John Lee Hancock's "The Blind Side" and Bennett Miller's "Moneyball") focuses on 3 central characters and builds an intricate universe of relationships from these central characters onwards. These 3 men are Michael Burry, a manager of a large hedge fund in California, who realizes that the US housing market is very unstable, and who predicts the market will collapse. He realizes he can profit from this situation, and sets about proving himself right, at the cost of alienating some of his investors. When this information reaches the ears of investor Jared Vennett, he realizes those predictions are true, and seeks to also make a profit based on this impending market. Joining him is also Mark Baum, an experienced trader, who comes to realize that the whole system is based on a fraudulent process that knows no limits (or principles).
Circling these three characters, are a series of others who suddenly also realize the pending economic catastrophe, and who are powerless to make any difference.
Adam McKay's "The Big Short" is an expose-film, that captures some of the best traits of the films that Oliver Stone was making in the late 80s early 90s (minus the formal experimentation that was always associated with Oliver Stone). The film smartly mixes the process of explaining the specific jargon and terminology of the financial industry, with a levity of explanation, which allows for the audience to better understand the stakes of what the financial experts were doing on the markets. By also allowing the characters to break the fourth wall and address the audience directly, it builds a rapport with that same audience (particularly in a scenario such as this, where literally everyone was affected by this global economic meltdown). The film synthesizes a lot of information, and slowly peels away the disturbing machinations of a financial market that is based on less than transparent premises. It's a strong film that is anchored on a taut script and fantastic performances from Christian Bale, Steve Carell and Ryan Gosling. A pertinent and solid film worth watching.

After the divisive reception of "Star Trek Into Darkness", director J.J. Abrams was chosen to bring to life another iconic series, George Lucas' "Star Wars". The film follows the events of Richard Marquand's "Return of the Jedi": since the victory of the rebels over the empire, and the death of both the emperor and Darth Vader, Leia has become a General with the rebels, Han Solo has resumed his smuggling ways and Luke Skywalker has disappeared. There's a new face of evil, that comes under the title of First Order, who is shepherded by both Kylo Ren, a new follower of the dark powers of the force and General Hux. Into this mix comes three unexpected players: Rey, a young scavenger, Finn a storm trooper who becomes aware of the machinations of the evil empire and decides to quit, and Poe Dameron, a fantastic rebel pilot. Rey in particular ends up holding a crucial importance that ties to the evolution of what the story and these key players have been about. They all have to thwart the plans of the First Order to use their ultimate weapon of destruction, capable of destroying star systems.
At this point "Star Wars: The Force Awakens" is part of a cinematic empire that is engraved in the memories of cinephiles all over the world. The films simply reach a massive amount of audience and expectation, since they deal with characters that have become classic and familiar since they first showed up in 1977. "Star Wars: The Force Awakens" is in a way, a restart of the original trilogy and features a more interesting plot than the one that George Lucas came up with in his three prequels which premiered between 1999 and 2005 (and were met with derision and heavy criticism). J.J. Abrams who has been working steadily and heavily in television, knows how to mix the classic references of the original trilogy, with the sophistication of the audience's new tastes (and also technology awareness). The film successfully mixes the analogical visual and style present in the first trilogy, with a far more modern and digital approach. This evolution of style and perspective can also be witnessed by the way the screenplay chooses to focus the story on a lead female central character. Where the film falters yet again, is in the edification of a good opposing force, one that has an edge and a sense of true villainy. Adam Driver and his Kylo Ren for instance never gets fully flushed out, and his arc is somewhat diminutive. The film is entertaining, visually stunning, but ultimately falters in being as well developed narratively as the original trilogy. Here's hoping the sequels progress the story in a better direction.

Director Todd Haynes is back, following his successful mini series which he directed for HBO, "Mildred Pierce". The film is an adaptation of the book by Patricia Highsmith, "The Price of Salt", and follows the story of two women from very different backgrounds, who in New York of the 1950s, embark on a love affair that may have harsh consequences for both of them. The film starts by introducing us to Therese Belivet, a young clerk working in a department store, who ambitions to become a photographer. During one of her working days, she meets the beautiful and sophisticated Carol Aird, who is out buying Christmas gifts for her daughter. What starts as an innocent meeting, evolves into a flirtation, and Therese learns that Carol is going through a divorce, and her husband is making the custody process a very difficult one. As the relationship starts getting deeper between the two women, so does Carol's fear that she may lose her custody over her daughter.
Todd Haynes has been successfully revisiting the American society of the 1950s in some of his most celebrated features, such as the beautiful "Far from Heaven" and the above mentioned "Mildred Pierce". He revisits these periods with a sense of simultaneous beauty and realism, capturing the both the wonder and style exhibited by Douglas Sirk's films of the 1950s, while simultaneously bringing into the foreground the sexual and social realities of living in those times (something that because of the Hayes code could never be fully and explicitly showcased in the classic films). "Carol" is a perfect example of a character study, one that slowly reveals the personalities of these two women, as they embark on a relationship, that is simultaneous an escape for one of them, and a coming of age for another. The evolution of Therese is particularly more visible, since she starts as an insecure and undecided young woman, and throughout the film she becomes deeply enamored of someone, and has to come to terms with finding her own path and who she truly is. The film allows for the two lead actresses to have fantastic performances, particularly Rooney Mara, who perfectly conveys the anxieties of Therese in her delicate features, and in her eyes. It's a performance that is nuanced, yet powerful. The cinematography from Ed Lachman is beautiful, as are the costumes from Sandy Powell. The score from Carter Burwell is at times reminiscent of Philip Glass, but still beautiful and elegant. A beautiful film worth watching.

Director Steven Spielberg followed his prolific year of 1997 (where he released two films, "The Lost World: Jurassic Park" and "Amistad"), with one huge success, which ended up winning him his second Oscar for best director, the celebrated and iconic "Saving Private Ryan". The film starts on the morning of June 6th 1944, with the allies landing on the coasts of Normandy, depicting the ferocity and violence of war. The film then shifts the focus of the story to Captain John H. Miller, who is tasked with assembling a unit of troops to go and find James Ryan, the youngest and sole survivor of 4 brothers all of whom have been sent to war. Miller assembles a diverse group of soldiers, and they all start their quest to find Ryan. After a failed attempt, they finally locate the soldier but decide to stay in that area since it's a crucial one to the allies efforts.
"Saving Private Ryan" is a fantastic film from an accomplished master. Sadly though it also exhibits one of Steven Spielberg's worst traits: his unrelenting need to sentimentalize and overdo stories that speak for themselves. "Saving Private Ryan" has one of the most strikingly well done entrance shots, one that inspired several other films and TV shows - the brutality of the depiction of the atrocities of war is astonishing, as is the overall tone of the rest of the quest the soldiers embark on. It's a film that manages to showcase the hardship, sacrifices that are made by people while in situations as extreme as wars. However, towards the end of the film, there's this mawkish tone that is introduced when a contemporary view of one of the central characters comes into light, destroying the tone and poetry that was captured by the rest of the film. The cast is uniformly good, with Tom Hanks, Tom Sizemore, Barry Pepper and Giovanni Ribisi creating memorable characters. The cinematography from Janusz Kaminski is stunning as is the score from legendary John Williams. A short of brilliant film by a master storyteller.

After the divisive yet successful "Les Miserables", director Tom Hooper is back with another period piece, based on the novel by David Ebershoff, itself a fictionalized account of the life of Lili Elbe, one of the first people to undergo sex reassignment surgery (Lili Elbe had her own autobiography published in 1933).
The film introduces us to Einer Wegener and Gerda Wegener, a young married couple in Denmark in the 1920s, who are both artists. Einer in particular has been getting some extra attention with his paintings, while Gerda, has experienced some trouble breaking through in the market. When one of her models misses an appointment, Gerda asks her husband to replace her and wear some silk stockings and a dress. What starts as an innocent request, it re-awakens in Einer a lost longing, something he always kept hidden throughout his adult life: the desire to be a woman. Initially with some reluctance, Einer finally realizes who he really is, and sets about becoming that person, while his wife desperately tries to maintain the relationship they once had. Things dramatically change when Einer discovers a doctor who has performed gender reassignment surgery and decides to take Einer's case.
Tom Hooper's films have so far fared better in tackling larger than life historical personas: individuals who overcome troubling circumstances to become successful in their own right (which was the case of his mini series "John Adams" and his Oscar winning film "The King's Speech"). "The Danish Girl" is somewhat a less accomplished feature, despite the fact that it features a revelatory performance from the wonderful Alicia Vikander. This is due primarily to the fact that the core component of the story, Einer's transition into becoming Lili, is never felt as something guttural, emotional and primal. For someone who claims that there's no going back to being a man, the process for Einer/Lili to evolve feels strangely superficial. The film is more successful in portraying the nuances of Gerda's career and life, how she learns to navigate the strangeness of her own life. The central character inversely becomes more about one specific thing, instead of allowing the viewer to understand the inner and fuller life of this complex person. Tom Hooper after a while starts repeating some scenarios within the story, which make the film feel derivative and repetitive. The supporting cast has little to do, but Amber Heard and Ben Whishaw create compelling characters with the little screen time they have. A missed opportunity to portray a person who was a trailblazer in her own right.

Director Justin Kurzel, who made his feature debut with "The Snowtown Murders", has followed that Australian based feature, with "Macbeth", a visceral adaptation of William Shakespeare's play of the same name. The film follows the story of a Scottish general by the name of Macbeth, who receives a prophecy from a trio of witches that he will become King of Scotland. Prompted by his ambitious wife, Macbeth murders the King, but allows the King's son to escape. After being crowned, Macbeth is consumed by guilt and paranoia, and soon becomes a tyrant, committing more murders to protect himself. This at the cost of everyone who surrounds him, including his wife.
Justin Kurzel's authentic adaptation of "Macbeth" is the latest in a series of features that have been done throughout the years, which also include Orson Welles' 1948 adaptation, Akira Kurosawa's "Throne of Blood" and Roman Polanski's 1971 version. Kurzel's is beautifully shot by Adam Arkapaw, and uses Scotland's locations to a beautiful effect. The scenery becomes a part of the story, which manages to be simultaneously dramatic, but also brutal, violent and carnal. It's a film that is both visually striking, stylized to a certain extent, but who has a beating brutal heart underneath it all, due to the fantastic performances from all the cast, particularly the always excellent Michael Fassbender and the luminous Marion Cotillard. The cinematography from Adam Arkapaw is stunning, capturing the beauty of the landscape but also the core feelings that are part of the story, namely the violence, intrigue and the fantastical elements of it. It's a riveting and unique vision of the play, worth watching.

"The Opposite of Sex" marked the directorial debut of screenwriter Don Roos, well known for writing Barbet Schroeder's "Single White Female", Jonathan Kaplan's "Love Field" and Herbert Ross' "Boys on the Side" amongst others. The film follows the story of sixteen year old Deedee Truitt, who runs away from home, pregnant by her boyfriend, and who ends up living with her older half brother Bill. While staying with Bill, she seduces his boyfriend Matt, and they elope, once she convinces him that she's pregnant with his child. Bill and his friend Lucia go on their trail, and eventually discover them.
Don Roos made a career for himself in the 80s writing for such tv shows such as "Hart to Hart" and "The Colbys", before moving on to features. "The Opposite of Sex" premiered in Sundance to much acclaim, and featured one of the first adult roles of Christina Ricci, who had steadily worked through her adolescence in films such as Brad Silberling's "Caspar" and Ang Lee's "The Ice Storm". The film also featured a great performance from the underrated Lisa Kudrow (then popular for the TV Show "Friends") and Hal Hartley's usual collaborator Martin Donovan. The film is a dark comedy superbly written, with much insight into relationships, slowly pealing away its acerbic wit and sarcasm to show a pulsing heart and mature view into relationships and sexuality. Don Roos successfully builds an interesting web of relationships, with situations that verge on overly dramatic (almost soap opera style), but yet he exacts restraint and allows for these characters to evolve and be more than just one dimensional cliches. It's a testament to the director and the cast, that the performances are all so interesting and different. A very good film worth watching.

Bill Condon's "Gods and Monsters" marked the ascension of the director to a more visible career (and won him an Oscar for adapted screenplay), since before this feature, the director was primarily doing television work. The film focuses on the life of film director James Whale, who gained prominence in Hollywood by directing "Frankenstein" and "Bride of Frankenstein" in the 30s. Now in the 1950s, Whale has retired and lives in a nice home in CA with his maid Hanna who disapproves of his homosexuality. Whale befriends a gardener (and former marine) who comes to his property, and they start a friendship, with the retired director silently lusting for his younger friend. As they become closer, Whale's intentions towards Boone become apparent, but not for the reasons Boone himself expected.
"Gods and Monsters" allowed to showcase the amazing talents of Ian McKellen and Lynn Redgrave. It's a film that focuses on a Hollywood icon, James Whale, a director who had fallen out of grace due to his sexuality. The film successfully captures the allure and magic of the silent films of Hollywood, all the while peeling off a layer and exposing the hidden truths of Hollywood and the prevailing homophobia at the time. Bill Condon smartly focuses the story on a fractured man, a person who feels like he belongs nowhere and who has been forgotten by everyone. His attempts at connecting are thwarted and yet he remains charismatic and filled with energy and wit that are unique. The film is a three part piece, between this central character who is unable to adjust, a stranger who is a bridge to the modern times, and the witness (the maid), who knows the details of the central character's life and who also infuses the film with humor and heart. This film lives from the fantastic performances from Ian McKellen and Lynn Redgrave, and remains thus far one of the best features from director Bill Condon's career. Worth watching.

Shekhar Kapur's "Elizabeth" was one of the revelations of 1998, garnering a series of Oscar nominations (winning one for best makeup), and ending up on several critics lists of the best films of the year. The film focuses on the story of Elizabeth, the daughter of Henry VIII and Anne Boleyn, who ascends to the throne following the death of her half sister, Queen Anne (in the 16th century). Elizabeth has to navigate the interests of the court, all of whom have different agendas. She is having an affair with a childhood sweetheart, Robert Dudley, though multiple advisers are wanting her to marry other more suitable men in order to secure her throne. As Elizabeth becomes more aware of the politics of court, the more assertive and calculating she becomes, learning to deal with her enemies in a ruthless fashion.
Shekhar Kapur who started his career as an actor, reached in the mid 90s a certain popularity due to the critical praise of his film "Bandit Queen" (released in 1994). "Elizabeth" is a interesting look into the machinations of politics at times when women had little to no power, and were used as pawns in order to secure suitable positions in different nations. The film slowly showcases the evolution of Elizabeth, from a young, innocent waif, believing in love, to someone who becomes aware of the rulings of politics and power, and how ambition makes men stop at nothing. It's a role that allows Cate Blanchett to truly shine, as she evolves across the feature, showcasing the nuances of a woman who learns what it truly means to dominate a court and a kingdom (and it was, after Gillian Armstrong's "Oscar and Lucinda", her first really big role which showcased her amazing talent).
The director smartly casts a series of fantastic supporting actors to weave this tapestry of devious politics, with Geoffrey Rush, Christopher Eccleston and Kathy Burke all creating great characters. The cinematography from Remi Adefarasin is stunning as are the costumes from Alexandra Byrne. A very good film worth watching.

About Me

Joao Pedro Canhenha is a UX Creative Director and Lead Product Designer (UI/UX/Visual Design) who has started developing projects in the Interactive arena since the year 2001. Since then, he has worked on a wide variety of projects, of different natures and in different conditions. The path has been utterly rewarding and as a result it has been a constant growth experience, one always filled with discovery and enlightenment. Ultimately the goal has always been the same: providing solutions that are rewarding and that meet what the client/project aims for. Something unique, specifically conceived and always functional. The goal is to continue developing projects that reach wider audiences, that bring satisfaction to clients and ultimately find the balance between functionality and technical expertise.